If those were bedsheets, what are these? Quilting squares?

The color: Easy to discern without being objectionable. The size: Adequate. The clarity: As glass. The provenance: Mother Unknown. Father, too.

Everyone has been so busy recently dealing with the nizioleti and washing and bleaching and ironing them, so to speak, that there hasn’t been much time to worry about anything else.

But now that we’re looking at the walls, we can see that something is going on that’s almost as disconcerting as the rewriting of the bedsheets.

It has to do with the yellow signs attached to assorted walls around the city whose arrows indicate the right direction to take in order to reach the major points of interest: San Marco, Rialto, Accademia, and a few other points near and far. There aren’t enough of these signs, and they’re not always positioned at the really necessary spot, though admittedly the intentions are good. But that isn’t the problem.

Unlike the nizioleti, which were in danger of being un-Venetianized, their yellow cousins represent a bureaucratic convolution which is much knottier than whether to use double or single consonants. And these yellow cousins don’t even have a cute nickname, unless you want to call them “mystery” (giallo, in Italian — the same word as yellow).

The problem is that they too need therapy — to be repaired, cleaned up, made uniform throughout the city, and generally titivated. But they have no parents, no guardian, no adult supervision. Nobody is responsible for them. Nobody even knows who put them up, or when.

When you think of it, there are millions of intersections in the world where a choice would be useful, and even desirable. Here it mainly looks funny. (Photo: Bill Marsano)

This more than usual strangeness came to light when a merchant wrote to the city to complain about another merchant who had made a little personal project of blacking out the words on certain normal signs, and installing a new yellow sign — example: “Per Rialto” — with an arrow pointing in the direction of his shop. This had been going on for six years, which I think demonstrates an amazing forbearance on the part of his competitors.

There’s a saying which describes this kind of behavior: “The devil makes the pots, but he doesn’t make their lids.” Which is to say that something skulduggerous might very well succeed up to a certain point, but it cannot remain concealed forever. You may be cooking along at a great rate on some sketchy project, but it will boil over, dry up and burn, catch fire, develop botulinum toxin, or otherwise eventually be discovered.

However, when the annoyed merchant wrote to ask the city to intervene to correct this delinquency, the city did not reply with the traditional comment no ghe xe schei.

Instead, the particular department (Urban Maintenance) informed him that “The Department of Public Works doesn’t install the yellow signs, and they don’t conform to the current regulations. In all of the Historic Center a signage indicating the most usual touristic routes are the object of continuous variations and tampering. It is impossible to determine the pre-existence, provenance, or eventual proprietors of these signs.

“Whatever intervention,” the reply continued, “requested by citizens or commercial operators for maintenance, cleaning up, renovation, or new installation, can only be made after a decision shared by the assessori (councilors) of Public Works, Commerce, Tourism, and Productive Activity” (the same thing as commerce, but different).

To sum up: We don’t know whose they are, but they’re not legal. We don’t know who put them there, but you can’t touch them. These are deep waters, Watson.

Sometimes there are so many they essentially cancel each other out in the typical tourist’s overloaded brain. Here we have four, one being also in Hebrew. (Photo: Bill Marsano).

But Alessandro Maggioni, the assessore of Public Works, wanted to clarify the situation. “All of the public signage belongs to the administration, that’s a certainty,” he said, showing admirable pluck. “If there is damage, the Public Works substitutes the individual signs, but it’s true that to touch their indications we have to have the approval of the relevant department, that is, Tourism, and I know that for a while now they’ve been proceeding with a project of reorganization of the old signage of the city.”

After the epic adventure with the nizioleti, I am waiting with my follicles tingling to see what this might turn out to mean.

Meanwhile, follow the arrows with more than your usual caution. That, or just don’t buy anything along the way.

That’ll show everybody you’re not to be trifled with.

And then there are the locals — presumably shopkeepers — who rebel against being treated as information centers, and put up their own signs. (I noticed this as I sat waiting in the hair salon.) These are extremely helpful, but after a few big rains begin to lose their luster, or fall off. I have also seen names and arrows applied to walls with spray paint, which is more durable, but the words can be hard to make out amid the other graffiti. And so it goes. Citizens try to resolve problems on their own but the fact that they have been driven to do so makes the city look — what’s the word I’m looking for? — silly.

Comments

Erla….as always very informative. A real glimpse inside the workings of Venezia! This is the type of article that I’d love to read in a travel magazine. It would be far, far superior to what I find in all 7 that I subscribe to.
Thanx to you dear!!!Linda Bailey Zimmerman recently posted..Venice January 2014

I have to write for people like you because — as you point out — travel magazines don’t publish things like this. The few times I’ve ever written for a travel magazine have been spectacularly disastrous. I just don’t understand what they want, and if I did, I still wouldn’t give it to them. So I’ll just have to keep on like this. But thanks for the compliment.